Charlotte Eschenlohr (Germany)
Yangwei & Wang Xu
宁长亮的一组绘画作品，描绘了不同形状的铁圆环、半环、锤子、铁架、以及似是而非的废旧零部件。通过细致刻画的物体的锈迹、剥蚀感以及划痕，强化了物体的质感。表面上，艺术家敏感地将客观物以图像方式“输出”；本质上，他抽离了物体的物质性以及叙事性的符号，表达了一种对文化内涵 “线索“的寻找。 通过几何原则的结构形式的牵引，消解了原始形式，而以一种简单抽象的“形”在内心建立了一个新的秩序。正如康定斯基所说，“伟大的抽象与伟大的写实，第一种因素通过第二种因素表现出来。”王冬梅的作品取材于画报、新闻图片等，具有强烈的叙事性。在她扎实的基本功背后，反映对现实层面的关注。她用荒诞的手法将场景重组成新的画面，在那里各种人类欲望得以展现——世界每天上演的色情、暴力、杀戮及战争等等。王冬梅的作品无论从用色、绘画性到题材，都与德国的新莱比锡画派有不谋而合的对应——神秘的视觉效果下掩藏的一个无序而虚幻的时代。
德国艺术家夏洛特于个展之后再一次参加画廊的群展，带来的是偏向女性图像挪用的系列。夏洛特观察敏锐，大胆使用拼贴手法整合了当今大众媒体中的女人形象。她们个个仿佛都是苗条身材、踩踏高跟鞋、前卫解放的爱与美的化身，连男人都忍不住掩面惊呼，但实际上这一切不过是商业社会打造的消费形象，这些形象不仅无益于女性地位的改变，反而使女性沦为被商品捕获的猎物。大众传媒的时代，商业文化炮制的神话泡影被夏洛特的Call the now戳破。白夜照相馆的杨威和王旭，此次作为一个艺术组合，为二道八号拍摄了一张“环湖而立”的宝贵合影，并同时展示了这张照片与照片灯箱。他们用商业传达日常关照，将生意本身当成作品，体现了清晰的生活即艺术的观念。
Beijing: Being 3 Gallery is pleased to announce the new group exhibition: A Bosom Friend Afar Brings A Distant Land Near, which will be on view from January 14 to February 14, 2017. The show features a good number of works from 10 artists/group working and living in Heiqiao-Miaopu Artist Village— Charlotte Eschenlohr (Germany),Chen Che,Dai Dandan, Dinghui,Kang Xueru, Ning Changliang, Wang Dongmei, Wang Ji,Wu Peng,Yangwei& Wang Xu (group). The exhibition, in terms of works from vivid creative subjects, varied expression styles to diverse material media，implicitly reflects the distinctive viability of artists as a subgroup living in Hei Qiao Artist Village under the "urban and rural integration process", and addresses the event that Heiqiao Art Village will cease to exist in a micro and poetic way. The opening reception will be held on January 14, 5-8 pm at Being 3 Gallery.
Artist Chen Che has brought us his "Natural Growth" series. He extracts from the natural elements, such as cells, nerves, water, stems and some biological forms, and further makes into forms of abstraction and symbolization. Through abstract expression and rigorous meticulous delineation, he combines abstract dimension with figurative schemata; through solid material application and individual's experience of nature, Chen explores the relationship between external natural landscape and inner spiritual spectacle. His works construct a multi-level /element natural system, where original growth, construction, aggregation, change, separation, disintegration, disappearance and circulation are organically carried on in this system.
Using lengths of found fabrics and strips of coloured ribbon, Dai Dandan constructs intricate works that reference the history of hardedge abstraction while also forging her unique position within this ouvre. Through compelling mix of geometry and intuition evident in the works, satin sheen of the ribbon shimmers across the surface of the pictures, lending softness to the harder geometric constructions within them. In the Braid Series, a much more frenetic energy is apparent. The visual system that the artist has set up is constantly threatening to burst at the seams as intersecting geometric forms are interrupted by random lines or shapes, and seemingly brings us to see how this female artist, challenges male artists such as Frank Stella by the use of electric colour and tacky colour combinations and graphs found in traditionally decorative materials, in the pursuit of the objective.
In Ding Hui's paintings, the lines carry a will and flow peacefully on the board. In a seemingly pure form that the artist has set up, hand-polished columns become the cornerstone of lines' coloring; with a slight imperceptible curvature, covering and misfitting, creating a unique sense of texture and a planar illusion. The lines spread and promote, offering handmade value a possibility of existence, allowing a psychological space to the viewers. Ding Hui's work expresses change of the abundant human nature, explores "the unknowable" and creates a new possibility in an attempt to use time as a consuming process. “Flowers and Grid” is the only work of Kang Xue Ru exhibits this time. "Flowers" are skillfully hidden within the similar grids of Piet Mondrian, reflecting his distinctive style and accurate concept - here, the art history is as if replaced by a rich lexical glossary; by re-questioning avant-garde art and folk art, he has developed an unprecedented form of expression.
Ning Changliang’s paintings depict different shapes of iron ring, semi-circular ring, hammer, iron frame, and some waste parts. Through the detailed depiction of the object's rust, denudation and scratches, it strengthens the texture of the object. Apparently, the artist has sensitively “output” the images of objects; essentially, he pulled out the materiality and narrative symbols from the object, in an attempt to find a cultural "clues". Through the traction of the structural form of the geometrical principle, the primitive form is dispelled; instead, a new order is established with a simple abstract "form". As Kandinsky puts it, "among the great abstraction and the great realism, the first factor is manifested by the second one.” Wang Dongmei's works are based on pictorials, news pictures, etc., with a strong sense of narrative. Behind her solid painting skills, she expresses concern about the reality. Using an absurd way, she reconstructed scenes into new images, where various kinds of human desire are revealed - pornography, violence, murders and wars. From the use of color, painterly to the subject, her works have all coincided with the German New Leipzig painting - a mysterious visual effect hidden under a disordered and illusory era.
Artist Wang Ji brings works that are with a very pleasing geometric color. By pulling herself away from the environment, she re-explores the meaning of spatial composition. Behind the seemingly minimalist forms, the works reflect a clear deletion process. In her paintings, the colors are supposed be together; the color and space are supposed to be segmented in that way. We also expect the viewers to find a dialogue between the external space and the combination of her paintings. With strong personal characteristics in the use of color, Wu Peng’s works illustrate his current personal experience, neither denying nor adhering to the issues. The artist believes that the fragments constructed in his work are meditations on the past, the future, and the boundary. It is simple and plain, but disorganized, and it has no symbolic pattern and metaphor that run through it—a pure existence will be aware of after flicking away the dust of experience and knowledge.
After a successful solo show in 2016 at Being 3 Gallery, Charlotte Eschenlohr (Germany) joins the group show as a foreign artist working at Miaopu artist village. We selected her latest series of works Call the Now.With an acute observation, Eschenlohr uses collage as the method, boldly borrowing from the chaotic form of daily life and the cheesy images of mass media, and edits them together without any beautifying or judgmental alteration. With slender figures and high heels, all of these female figures are an embodiment of the liberated concept of love, beauty, and the avant-garde – even men can’t help but cover their eyes and exclaim – but the truth is they are nothing but an image for consumerism produced by the commercial society we live in. This image is not only useless in improving the social status of women, but actually degrades women as the prey of commodity. In this time of mass media, the myth concocted by consumerist culture is torn up in Eschenlohr ‘s Call the Now.
Yang Wei and Wang Xu, by taking a valuable photo of the last generation of the artists living in the miaopu artist Village, express their business philosophy of a day-to-day care and making art out of daily life. This exhibition has once again brought about the sensitive discussion In response to the special event of Heiqiao Village and it has been more than two years since the first exhibition based on the theme of Hei Qiao Village in 2014: Huang Min Solo Exhibition "Black Bridge Village: a micro-narrative".